Through February 23rd: Master Class Dedication Meets Modern Relevance in St. Louis Actors Studio’s “Long Day’s Journey Into Night”
Director Austin Pendleton’s choice for restraint, while interesting, could benefit from allowing the full emotional spectrum of emotion to flourish.
The St. Louis Actors Studio’s production of Eugene O’Neill’s Long Day’s Journey Into Night is a commendable interpretation of O’Neill’s classic. The master class vibe, the cast’s potential and directorial interpretation make this a production worth seeing for theater lovers – despite the noticeable lack of rehearsal polish and overly restrained performances.
Long Day’s Journey Into Night continues to resonate with modern audiences even in light of contemporary understandings of alcohol and opioid use, abuse and treatment. The play’s exploration of addiction, familial strife and the quest for acceptance and redemption is as relevant today as it was in O’Neill’s time. Long Day's Journey Into Night exemplifies the kind of emotionally charged, thought-provoking, character-driven theater that the St. Louis Actors Studio is inspired to offer.
The Actors Studio invited Austin Pendleton, a highly respected figure in theater, to direct this intricate exploration of family dynamics, addiction and personal struggle. Pendleton has had an extensive career as an actor, playwright and director. He earned a Tony Award nomination for Best Direction of a Play for the 1981 Broadway revival of The Little Foxes with Elizabeth Taylor. Pendleton has also received Obie and Drama Desk Awards for his performances and contributions. His recent Broadway work includes acting in Choir Boy (2016) and directing Between Riverside and Crazy (2022).
Under Pendleton’s direction, this production does not quite live up to the play’s inherent challenges with the intended finesse and emotional authenticity, despite working with experienced actors and accomplished creative team. This issue seems to be one more of direction than the abilities of the actors.
Pendleton’s direction may not maintain the emotional intensity of the play or the connection among the characters throughout its lengthy runtime, but the pacing is meticulous. The under-rehearsed nature of the cast and the restrained directing choices make it challenging for the audience to connect with the characters, who too often seem to speak at, rather than with, each other. But this might be a choice rather than a shortcoming.
The best performances are delivered by Joel Moses as the older brother, James (Jamie), and Dustin Petrillo as his younger brother, Edmund. Moses impressively displays the range required to portray Jamie, including his cynical and bitter attitude toward life, his protective-yet-jealous relationship with Edmund, his failed aspirations and his brutal, uncomfortable honesty. Moses’ tears at the conclusion of the play seem real, but his performance often feels insular, creating a sense of separation from the rest of the cast (this can be said of all the performances with the possible exception Bridgette Bassa as the Irish-brogued maid, Cathleen).
As O'Neill's alter ego, Edmund, Petrillo reaches to fulfill his character’s central role in the play's exploration of family dynamics and personal struggle with the added challenge of portraying someone suffering from tuberculosis. Petrillo is excellent showing Edmund’s sensitivity and poetic intellect, as well as his close-but-complicated relationship with his mother, Mary.
Less effective are the scenes with his father, James Sr. The strained relationship between the two characters is difficult to understand given the restrained and detached performance by Willam Roth as the father. Not clear in this production is an understanding of the essential need for acceptance felt by either of his sons given the gulf-like restraint among them.
Meghan Baker’s depiction of the morphine-addicted Mary Tyrone is uneven as well. Even though her monologues are delivered with clarity (though with too little compelling Ophelia-like fragility), her individual interactions with her husband and sons often feel overly detached. At its best, her performance adeptly pivots as her character devolves into a confusing stupor and showcases moments of vulnerability that add depth.
One of the best attributes of this production is the set, sound and overall atmosphere provided by Patrick Huber (scenery and lighting design) and Kristi Gunther (production manager and sound designer). The intimate space of the Gaslight Theater is used to great effect, drawing the audience into the Tyrone family’s seaside world. The set design is meticulously detailed, capturing the period-accurate aesthetic that enhances the overall experience. The use of sound effectively evokes the seaside setting, providing an auditory backdrop that complements the narrative.
Additionally, the sensitive lighting design rises and falls with the intensity of the scenes, adding a dynamic visual layer to the emotional ebb and flow of the story. Costumes by Teresa Doggett are period precise, reflective of each character and starched to perfection.
Pendleton’s choice for restraint, while interesting, could benefit from allowing the full emotional spectrum of emotion to flourish. The set, sound and lighting designs all contribute to creating an immersive atmosphere that resonates deeply with its audience. Despite this production’s weaknesses, it is still a worthy staging with an interesting and less conventional approach to the play’s raw and honest portrayal of family dynamics.
It’s worth pondering something else: Perhaps Pendleton’s goal is to direct the actors to containerize and isolate their characters to achieve a sense of unease and uncomfortableness in the audience?
St. Louis Actors Studio’s Long Day’s Journey Into Night runs through February 23 at The Gaslight Theater. For more information, visit stlas.org.